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Mnemonics for internalising rhythms
- Thread starter RCMJ Bass
- Start date
- Dec 13, 1999
- 11,736
- 8,941
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- Disclosures
- Chuck Sher publishes my book, WALKING BASSICS:The Fundamentals of Jazz Bass Playing.
I'm not sure I understand, why not just read them and play what you're reading? It seems like adding an intermediary step....
As all our brains work differently, I don't see it as an extra step, just using whatever method helps.
I am big believer in learning notation but I also think mnemonics can be super useful for sure, and also slightly less scary for some beginners who might run screaming from notation, which is really who my videos are aimed at.
Once you've internalised a rhythm, it doesn't matter if you learnt it through notation or mnemonics but you'll just be able to recall it instantly and have it in your rhythmic vocabulary.
I had a great discussion once with a tabla player about the Indian system of Konokol, vocalising a group of say, seven beats as "ta-ka-di-mi ta-ki-ta" or a group of five as "ta-ka-di ta-ka" for example can be a really fast way to internalise an odd meter.
I am big believer in learning notation but I also think mnemonics can be super useful for sure, and also slightly less scary for some beginners who might run screaming from notation, which is really who my videos are aimed at.
Once you've internalised a rhythm, it doesn't matter if you learnt it through notation or mnemonics but you'll just be able to recall it instantly and have it in your rhythmic vocabulary.
I had a great discussion once with a tabla player about the Indian system of Konokol, vocalising a group of say, seven beats as "ta-ka-di-mi ta-ki-ta" or a group of five as "ta-ka-di ta-ka" for example can be a really fast way to internalise an odd meter.
- Dec 13, 1999
- 11,736
- 8,941
- 70
- Disclosures
- Chuck Sher publishes my book, WALKING BASSICS:The Fundamentals of Jazz Bass Playing.
Well, sure. But the takadimi (and pretty much all of the music of the Indian subcontinent) is based on an oral tradition, rather than notation. Most of the drummers I knew that were into that were coming to Jackson Heights to study with Indian and Pakistani musicians teaching in that methodology. I do it, you copy what I do.
Use the standard syllables that pretty much every music class uses. Sixteenths are 1 e + a. So your figure would be pronounced 1 and-a 2 and-a and so on
What's the standard syllable used for an 8th- or 16th-note quintuplet?
Asking for a friend.
- Dec 13, 1999
- 11,736
- 8,941
- 70
- Disclosures
- Chuck Sher publishes my book, WALKING BASSICS:The Fundamentals of Jazz Bass Playing.
Well since triplets are generally taught trip pull let, one imagines one could quin tup pull let ey. But I also imagine that once someone gets to the point of play complex rhythmic subdivisions of the beat, one may have surpassed the need to say things in one's head in order to play them.
I know a conservatory-trained percussionist who swears he says "ho-mo-sex-u-al" in his head any time he has to read a quintuplet!
"Pag-ing-Doc-tor-Freud", works, as well.
You're welcome.
Ed Friedland uses mnemonic devices in his Hal Leonard Bass Method. I have tried to make use of them, but I just can't make them work for me. I don't find them easier than just reading the notation and getting that sound in my head. I'm not against it though. I use that technique to good effect with other things.
One really effective way to learn how rhythms fit within beats and measures is to conduct the beat pattern with your right hand while counting the numbers (one two and three and four and a for ex.). It gives you a precise read of where the rhythmic attacks occur within a measure and where they’re placed in relation to the beat. You can’t play while you conduct but you can learn the rhythm and then apply what you’ve learned when you pick up your bass. Tried and true method for learning rhythms.
I do recall that for 7s, it's "Gina Lollobrigida" or am I dating myself? lol
I mentioned this in another recent thread, but one of the problems with these colloquial mnemonics is that there is an inherent stress pattern in the word(s) that you may not want to be imposing on the music. E.g., I've always heard her name pronounced "gin-a lol-lo-BRIG-i-da" ...but you don't always want your septuplet to stress partial #5.
Well, I once used it mnemonically as GI-na-LOL-lo-BRIG-i-ta (or TA, depending.. at the time it worked out because I was trying to hit beats 1, 3, & 5), and IMHO the actual pronunciation back in the day (Buono Sera, Mrs. Campbell) was more like GI-na-lol-lo-BRI-gi-da - with a stress on 1st et 5th syllables, not just the 5th.
I don’t think that’s a really relevant comparison. Rhythms up to sixteenths are very basic and would be taught within the first year of learning almost any instrument. Quints, septs and the like would come much later and most often the players just feel them. Even in college level music theory classes it’s acknowledged that the higher number subdivisions are kind of nebulous as far as how people read them.
My Mother, who was a classical pianist and music teacher, gave myself and my sister names that formed triplets so we'd always have it ready.
It's useful for polyrhythms, which few people can just read and play without having done practice to internalise how they are supposed to sound, something that is made easier with mnemonic phrases. E.g., "WASH the GOSH darn DISH-es" for 4 against 3.
In all seriousness here is a great article on rhythmic syllables and the why/wherefore. I think the takeaway to me is that if you intend to eventually interact with anyone that remotely approaches “formal” training you should probably just use the common number system.
Rhythm Syllable Systems - What to use and why! - Make Moments Matter
I found the section on rests particularly interesting
Rhythm Syllable Systems - What to use and why! - Make Moments Matter
I found the section on rests particularly interesting
